Forum Replies Created

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  • Sandeep Sajeev

    October 14, 2013 at 10:02 am in reply to: Tips for this key anyone?

    [Christopher Travis] “a) is there a way of doing this without using a duplicate layer?”

    Hey Chris,

    I don’t know of any way to get this done properly on one layer in any application to be honest, so doubt that Motion is any different. Btw, Macbreak Studio just put out a podcast on Keying inside FCPX. Motion 5 uses the same keyer, so check it out and see if your keyer inside Motion 4 has similar options.

    [Christopher Travis] “b) having 2 layers is causing me another problem; I want each clip to fade in and fade out, and for this I’m using the fade in/out behaviour. However, if I apply this to both top and bottom layers….”

    You’ve tried Grouping your key layers and then adding the Fade Behaviour to the Group, as opposed to each individual layer? Another way, and one that we used to do quite often in the old days, is to render out your keyed comp once you’re happy with it and then bring it back in as a clip. Saves the system from having to calculate the key while you work. You can just hide the Key Comp Group so you access it later if you need to. Or maybe create a folder in Favorites name it after your project, create another folder in there for Keys, and drag your groups in there. Check this before you delete anything from your project though, i think it should work well, but test!


  • When you pick an offset, the Tracker continues from that point onwards. It does automatically calculate the offset.

    One way to check that the offset is working correctly is to watch the Tracker Preview window in the Inspector. You will see the reference point switch from the last trackable frame of the water bottle to the offset point that you have selected. This should happen immediately – i.e one frame after the last water bottle frame.

    Is this happening? Is it holding on to your offset feature? If it’s not then clear out your track and start over. Try choosing the yellow dot inside the white thing in the background or the athlete’s eye. Those will probably be better points.

    Let me know if that helps. You’re planning on match-moving something on to this shot right?

  • Hi,

    can you expand on your issue a bit? What exactly is happening once you check Offset Track and Analyze? If you can post a screengrab it might be helpful.


  • Sandeep Sajeev

    October 12, 2013 at 7:19 am in reply to: Tips for this key anyone?

    Keying a scene with Hair almost always requires multiple keys. In your shot, you’ll need one key focused on extracting her body properly and another one for the head. Then you can layer the 2 mattes over each other to get a pleasing key.

    As far as pushing the buttons on the Keyer, stay away from any Shrink or Erode controls in general, but especially on the hair key. I don’t do any keying inside of Motion, so I only have a rudimentary knowledge of it’s keyer, so I’m afraid I can’t give you a step by step guide.

    But in general this is the process:

    Body Key:
    – Pick a Key color close to the body. The actual color of the background that you choose is important, so once you’ve made your selection, switch into Matte View and examine the quality of your Matte. You want large areas of white and black. There will always be areas of grey, always, so don’t worry about them yet. Pick a couple of other Key colors and see which one gives you the best Matte. Use this as your starting point.
    – Once you’ve got a good base Matte, the next step is to refine it. In general this involves adding softness/tolerance and masking out areas to be white or black. Some keyers even give you the option to Patch different regions of your Matte, I don’t believe Motion lets you do this, check and see if Primatte does.
    – Tweak until you get a nice matte for her body. Ignore what these settings do to her hair.

    Hair Key:
    – Repeat the process, but focus on her hair and ignore the body. You might need multiple keys for this, picking different key colors close to different parts of her hair.

    Once you have both Body and Hair Mattes looking clean, then you need to add a Lightwrap to blend her into the new background. In general, a Matte Edge operation followed by a Blur operation should give you a nice soft edge.

    EDIT: Forgot to add: Use one Layer just for Despill if you’re finding it problematic getting a good despill result. This way you can go in and use Color Curves for more control if necessary.

    Does that help?


  • Sandeep Sajeev

    October 12, 2013 at 5:50 am in reply to: The missing option…

    [Gary Huff] “it usually looks like shit and you have to basically tweak the hell out of it anyway, so what’s the point?”

    You’re generalizing. If you actually try using his LUT’s with the recommended Profiles set in Resolve, you’ll see that they do work quite well generally. And they’re free, he’s giving them away. He’s even got examples of his workflow using them on his site.

  • Sandeep Sajeev

    October 11, 2013 at 10:38 am in reply to: Tablet

    [Eugene Korkhin]
    You can hold down R or T or B when skimming to automatically activate clip skimming when needed, and then release it to put it back in Normal Skimming mode.

    Hope that helps.

    It does! I’d totally forgotten about this.

  • Sandeep Sajeev

    October 10, 2013 at 6:19 pm in reply to: The missing option…

    I think in such situations, when you’re not going out to film, and are working within an environment that gives you both visual and numerical feedback, you can safely use a LUT as a creative complement to your grading process.

    Accuracy of the LUT is not really the critical factor here.

  • Sandeep Sajeev

    October 10, 2013 at 6:13 pm in reply to: The missing option…

    Yeah looks like SGO have hit the sweet spot with Mamba. It has all the comp functionality that an assist station needs. They need to start knocking out more tutorials and demos though, as they make the strangest front-ends in the industry, and Mamba isn’t going to be easy to learn.

  • Sandeep Sajeev

    October 10, 2013 at 5:58 pm in reply to: Tablet

    [Jeremy Garchow] “I also find that with the Wacom, leaving clip skimming on, but regular skimming off and setting a marker with snapping turned on, sometimes helps to compare layers at the same frame.

    How’s that for some silly juju?”

    Yeah it’s ridiculous how the program makes some basic editorial functions so horribly convoluted.

    I don’t understand why I can’t hold down Option when skimming to automatically activate clip skimming when needed, and then release it to put it back in Normal Skimming mode. Little things like that can make such a difference. Or for example, to change the Opacity of a clip, I have to Apple4, scroll down and then drag the slider. I can also hit CtrlV, but then I have to hit the little expand icon all the way to the right before I can access the line and drag it down or up. Both those options take about the same time. They really need to think about getting rid of some of these poor design decisions. Ideally CtrlV should bring up basic fields that can be maniupulated instantly.

    All these things require work, regardless of whether you’re working with a client in the room or not. I hope this new version takes some serious strides toward making creative editorial as fast as ingest and sorting.

  • Sandeep Sajeev

    October 10, 2013 at 5:35 pm in reply to: Tablet

    [Jeremy Garchow] “It works nothing like any other program, but we all know how that goes.”

    There are days when it just aggravates me no end. Today, I had a primary and 2 layers stacked above. Trying to compare the exact same frame on all 3 was so fiddly that I found myself missing tracks, and focus points. Seriously, having to disable the skimmer, turn off the clip, then turn it back on, and turn on the skimmer again and repeat, really pissed me off.

    A simple page-up/page-down should be all that is required.

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